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Up to the 19th century, Kurrent (also known as German cursive) was used in German-language longhand. Kurrent was not used exclusively, but rather in parallel to modern cursive (which is the same as English cursive). Writers used both cursive styles: location, contents and context of the text determined which style to use.
Miller & Richard's original specimen for their Old Style fonts, in a mock-traditional style with the long s and archaic ligatures. [1]Old Style, later referred to as modernised old style, was the name given to a series of serif typefaces cut from the mid-nineteenth century and sold by the type foundry Miller & Richard, of Edinburgh in Scotland.
It was still in wide use until the 20th century because it was used in French school manuals to teach the bases of cursive writing, and was also commonly used by the scribes of the French Ministry of Finance until right after World War II, [2] which gave this style the name of écriture ronde financière ('round financial writing', not to be ...
However, more modernized fonts of the Gebrochene Grotesk type such as Tannenberg were in fact the most popular typefaces in Nazi Germany, especially for running text as opposed to decorative uses such as in titles. These fonts were designed in the early 20th century, mainly the 1930s, as grotesque versions of blackletter typefaces. The Nazis ...
Monotype Modern, a nineteenth-century text face, next to Haas Clarendon Bold, a display face. Both fonts show classic nineteenth-century design features, for instance on the 'Q', 'R', 'r', 'a' and 'c'. However, the Clarendon is much wider with a higher x-height, and contrast between thick and thin strokes has been reduced.
It is an adaptation of Priory Text, an 1870s version of William Caslon’s Caslon Text of 1734. Lower-case letters are identical with Phinney's earlier Flemish Black . Collier Old Style (1919, Goudy), a private type for Proctor & Collier , a Cincinnati advertising agency, matrices cut by Wiebking .
Typefaces and fonts introduced in the 1890s (8 C) Pages in category "Typefaces and fonts introduced in the 19th century" The following 2 pages are in this category, out of 2 total.
Stylistically the serif fonts of the mid-19th century appeared very robust and otherwise had more or less neo-classical design features, which changed during the course of time: By the application of the slab serif design feature and by appending serifs to more and more typefaces, an independent intermediate group of heterogeneous fonts emerged ...